1000 Songwriting Ideas: Music Pro Guides
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<strong>1000</strong><br />
SONGWRITING<br />
IDEAS<br />
by Lisa Aschmann<br />
Hal Leonard Books<br />
An Imprint of Hal Leonard Corporation<br />
New York
Copyright © 2008 by Lisa Aschmann<br />
All rights reserved. No part of this book may be reproduced in any form, without<br />
written permission, except by a newspaper or magazine reviewer who wishes to quote<br />
brief passages in connection with a review.<br />
Published in 2008 by Hal Leonard Books<br />
An Imprint of Hal Leonard Corporation<br />
19 West 21 st Street, New York, NY 10010<br />
Printed in USA<br />
Book and cover design by Stephen Ramirez<br />
Photos courtesy of Dark Horse Recording, Franklin, TN<br />
Library of Congress Cataloging-in-Publication Data is available upon request.<br />
ISBN 978-1-4234-5440-3<br />
www.halleonard.com
Contents<br />
Introduction to the First 500 <strong>Songwriting</strong> <strong>Ideas</strong> ................ 1<br />
500 <strong>Songwriting</strong> <strong>Ideas</strong>. ............................... 3<br />
Introduction to the Second 500 <strong>Songwriting</strong> <strong>Ideas</strong> ............. 121<br />
The Second 500 <strong>Songwriting</strong> <strong>Ideas</strong> ....................... 131<br />
Appendix ....................................... 259<br />
Regarding My Own <strong>Songwriting</strong> <strong>Pro</strong>cess .................... 273<br />
Selected Bibliography ................................ 277<br />
Index ......................................... 283<br />
About the Author .................................. 303<br />
vii
500 <strong>Songwriting</strong> <strong>Ideas</strong><br />
Dare to be stupid. A thing worth doing is worth doing anyway.<br />
1<br />
Turn off the sound on the TV and write conversations for the soap operas.<br />
2<br />
Eavesdrop at a café.<br />
3<br />
Study advertisements. How is something bigger, newer,<br />
more compact, faster?<br />
How is pleasure promised? How is “better” shown?<br />
Advertising appeals to our core needs. People may own a certain car because<br />
it makes them feel freer or richer or sexier than people who don’t. Advertisers<br />
push universal buttons that address those needs. So do hit songs. Here are some<br />
needs people could use your reassurance on: sex, validation, safety, excitement,<br />
security, individuality, intelligence, status, to be famous, important, noticed, to be<br />
thought attractive, powerful, top dog, popular, ahead of the trends, eco-friendly.<br />
3
<strong>1000</strong> SONGWRITING IDEAS<br />
These are some needs you could address that are dear to your listeners. By using<br />
advertising, product-design, and song you might even meet some of these needs.<br />
4<br />
Make up life stories of people in stores, airports, or bus terminals.<br />
Finish these phrases:<br />
__________ when all fails.<br />
5<br />
Plan a series of sermons or lessons about life.<br />
The first/last thing my mom/dad told me was __________ .<br />
I was born to __________ .<br />
You can always count on __________ to __________ .<br />
I wouldn’t trade a million bucks for __________ .<br />
6<br />
Imagine that body parts or household objects have feelings.<br />
What would this door, mirror, table, picture, heart, wall<br />
say if it could talk?<br />
4
THE FIRST 500 SONGWRITING IDEAS<br />
7<br />
Imitate the rhythms of nursery rhymes, e.g., “Jack Sprat<br />
could eat no fat . . .”<br />
“Ride a cock horse to Banbury Cross . . .”<br />
“Little Miss Muffet sat on a tuffet . . .”<br />
8<br />
Translate poetry from a language you don’t know.<br />
9<br />
Fracture some fairy tales. Retell a movie plot.<br />
10<br />
Explain earthlings to aliens; what are our customs for?<br />
11<br />
What would you like to tell your hero/favorite teacher/child? Write an<br />
important letter to someone you know.<br />
5
<strong>1000</strong> SONGWRITING IDEAS<br />
12<br />
Define these terms: home, a life worth living, the perfect day, what I<br />
want most, the greatest gift, my dream lover.<br />
13<br />
Use counterfactuals. If __________ weren’t true, then I’d be a monkey’s<br />
uncle, e.g., “Till the Rivers All Run Dry” (Don Williams and Wayland<br />
Holyfield), “If Ever I Would Leave You” (Alan Jay Lerner and Frederick<br />
Loewe), (“I’ve got some”) “Ocean Front <strong>Pro</strong>perty” (“in Arizona . . .”)<br />
(Garland Cochran, Royce Porter, and Dean Dillon).<br />
14<br />
Create switcheroos, e.g., “Not only are things seldom what they<br />
seem, but they never were” (Marshall Barer). Look for true<br />
paradoxes, opposites, contrasts, e.g., “Up is Down” (Marshall<br />
Barer), “Full Moon and Empty Arms” (Buddy Kaye and Ted<br />
Mossman), “Come Rain or Come Shine” (Johnny Mercer and<br />
Harold Arlen), “The Night We Called It a Day” (Thomas Adair<br />
and Matt Dennis), “The Last Thing I Needed the First Thing This<br />
Morning . . .” (Gary P. Nunn and Sam Farar).<br />
15<br />
Make lists of synonyms, metaphors, and similes and use them to<br />
create titles or first lines. A good exercise to do along these<br />
lines is to finish the phrase<br />
6
THE FIRST 500 SONGWRITING IDEAS<br />
“as quiet as a __________ ,” and don’t say “mouse”;<br />
“as hard as a __________ ,” and don’t say “rock”;<br />
“as light as a __________ ,” and don’t say “feather,” etc.<br />
16<br />
List things that go together, e.g., socks and shoes, salt and pepper,<br />
“Leather and Lace” (Graeme Pleeth), “We Were Meant to Be Together”<br />
(Jeffrey Taylor), “Scotch and Soda” (Dave Guard).<br />
17<br />
Count things, e.g., “Eighteen Wheels and a Dozen Roses”<br />
(Paul Nelson and Gene Nelson), “The Twelve Days of Christmas,”<br />
“If the Devil Danced” (“in empty pockets, he’d have a ball in<br />
mine, with a 9-foot grand, a 10-piece band, and a<br />
12-foot chorus line.”) (Kim Williams and Ken Spooner). There<br />
are eighty-eight keys on a piano, four quarts in a gallon,<br />
two-lane highways, a first and last what?<br />
18<br />
List the best of things, e.g., Cole Porter’s “You’re the Top,” “Cadillac<br />
Style” (Mark Petersen), “You Take the Cake” (Joseph Garland),<br />
Godiva chocolates.<br />
7
<strong>1000</strong> SONGWRITING IDEAS<br />
19<br />
Use onomatopoeia, sounds that “say themselves”: RRRRRING,<br />
BEEEEP, BLAM! For instance, you could imitate a train whistle as<br />
Tom Kimmel does in his song “Blue Train,” which he wrote with<br />
Jennifer Kimball. Repetition of certain syllables can make flutelike,<br />
bell-like, or train-like sounds, e.g., “piccolo meeny” sounds<br />
like a piccolo when repeated fast and high. “Chicken fricassee” or<br />
“a ticket in a pocket” when repeated can sound like train wheels.<br />
Some three-part rounds or spoken pieces are designed with that<br />
effect in mind, e.g., “Soup,” “One Bottle of Pop,” etc.<br />
20<br />
What does nature sound like? For instance, “The wind in the willows,<br />
sighing like a solitary soul alone . . .”<br />
21<br />
Write about a favorite city, state, place. Use qualities of the place to<br />
describe a person or a feeling, e.g., Hoagy Carmichael and<br />
Stuart Gorrell’s “Georgia on My Mind.”<br />
22<br />
Walk. Walk in different rhythms. Two-step, waltz, tap your feet, slide,<br />
run, spin, clap your hands, wave your arms, wag your head. Get<br />
funky and see what song suggests itself to you.<br />
8
THE FIRST 500 SONGWRITING IDEAS<br />
23<br />
Write twenty ways to say “I Love You” without using the word “love”<br />
and twenty ways to say “good-bye” without saying “good-bye.”<br />
24<br />
Make exceptions without using the word “but.”<br />
25<br />
Motivate somebody to rebel against something.<br />
26<br />
What’s the hardest thing you ever did? The easiest? What’s your<br />
proudest moment? Your saddest moment? Go inward.<br />
27<br />
Pick somebody you admire and write about them.<br />
28<br />
Put music to different art forms. What would a Paul Klee sing like?<br />
A Vermeer? What is Rodin’s The Thinker pondering?<br />
9